Practical THEORY A SELF-INSTRUCTION MUSIC THEORY COURSE This combination textbook and workbook teaches music theory in a concise, practical manner. Contains review worksheets and answers to guarantee proper learning, even without a teacher. D, C. al ine - © 9G i » \\ i ‘ \ (a ya oe tx | SJ J JS "Sandy FelistemPraca Ti HEORY Sandy Feldstein “ree A SELF-INSTRUCTION MUSIC THEORY COURSE This combination textbook and workbook teaches music theory in a concise, practical manner. Contains review worksheets and answers to guarantee proper learning, even without a teacher. PRACTICAL THEORY is available in 3 individual volumes. It is also available in one complete spiral~ bound edition, 2280 Volume | 2281 Volume 2-282 Volume 3.1998 Complete PRACTICAL THEORY is also available for your microcomputer. The software developed by Electronic Courseware Systems, Inc. reinforces all of the material taught in the tests with interactions that guarantee all lessons are truly understood. The computer units include random drills plus aural reinforcement and correlate exactly with the PRACTICAL THEORY textiworkbooks. Volume | Volume 2 Volume 3 Complete Book/2 Diskettes Book/2 Diskettes Book/2 Diskettes Book/6 Diskettes, 3531 3532 3533 3535 ISBN 0-7390-0411-5 ISBN 0-7390.0414.X _ISBN0-7390-0417-4 ISBN 0-98204.457-1 Apple! 2401 2402 2403 2404 Commodore ISBN 0-7390-0412-3 ISBN 0-7390-0415-8 _ISBN0-7390.0418-2 ISBN 0-86204-459-8 es) Macintosh 3477 3479 3481 3483 @5") ISBN 0.7390-0413-1 ISBN 0-7390.0416-6 ISBN 0.7390.0419-0 ISBN 0-88284-461-X Important ‘Computer Diskette Loading Instructions on Page 91 MUSIC ACHIEVEMENT SERIES ‘Also avalable for your microcomputer is ALFRED'S MUSIC ACHIEVEMENT SERIES, a three-disk test bank that corre- lates to the three volumes of PRACTICAL THEORY. All tests are randomized; thus the students are astured of new groups of questions each time the testis taken, The test records of up to 50 students can be stored on each disk, students can retake tests to improve their scores, and all records are available to the teacher for review and/or printout. IBM (3.5) 7235 Macintosh (3.5) 3485 Copyright © MCMLOCKII by Alfred Publishing Co. Inc.Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson 9: Lesson 10: Lesson 11 Lesson 12: Lesson 13: Lesson 14: Lesson 15: Lesson 16: Lesson 17: Lesson 18: Lesson 19: Lesson 20: Lesson 21 Lesson 22: Lesson 23 Lesson 24 Lesson 25: Lesson 26: Lesson 27: Lesson 28: Lesson 29: Lesson 30: Lesson 31 Lesson 32: Lesson 33: Lesson 34: Lesson 35: Lesson 36: Lesson 37: Lesson 38: Lesson 39: Lesson 40: Lesson 41: Lesson 42: Lesson 43: TABLE OF CONTENTS The Staff The Treble Clef and Staff ‘The Bass Clef and Staff Review of Lessons 1-3 Whole—Half—Quarter Notes Measures—Bar Lines—Double Bar Lines Time Signatures and Note Values Review of Lessons 5-7 The Grand Staff Leger Lines Whole—Half—Quarter Rests Review of Lessons 9-11 Another Time Signature: Another Time Signature. The Dotted Half Note Review of Lessons 13-15 Ties and Slurs Repeat Signs First and Second Endings Review of Lessons 17-19 Eighth Notes. Eighth Rest Dotted Quarter Notes Review of Lessons 21-23 Flat Sharp Natural Review of Lessons 25-27 Whole and Half Steps ‘Chromatie Scale The Major Scale Review of Lessons 29.31 More Major Scales (F&G) ‘Other Major Scales (Bb, £b,D,A) Key Signatures Review of Lessons 33-35 Circle of Filths (Major Sharp Keys) Circle of Fiths (Major Flat Keys) Gircle of Fiths (All Major Keys) Review of Lessons 37-39 Dynamics D.C. and D.S,, Coda and Fine Tempo Markings and Other Musical Symbols COMPUTER SOFTWARE Vol. 1, Disk 1 Vol. 1, Disk 2 Vol. 2, Disk 1 Vol. 2, Disk 2 Vol. 3, Disk 1 Vol. 3, Disk 2 u 2 B 4 15 16 7 18 19 20 21 2 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 4 a2 43 44 Lesson 44: Review of Lessons 41-43, Lesson 45: Sixteenth Notes Lesson 46: Sixteenth Rests Lesson 47: Dotted Eighth Notes Lesson 48: Review of Lessons 45-47 Lesson 49: Intervals Lesson 50: Diatonic Intervals Lesson 51: Chromatic Intervals Lesson 52: Review of Lessons 49-51 Lesson 53: More Time Signatures Lesson 54: Another Way to Count Lesson 55: Triplets, Syncopation Lesson 56; Review of Lessons 53-55 Lesson 57: Major Chords—Major Triads Lesson 58: Chords Related toa Key Lesson 59: Chord Progressions Lesson 60: Review of Lessons 57-59 Lesson 61: Dominant Seventh Chord Lesson 62: Inversions . : bese Lesson 63: Inversions ofthe Dominant Seventh Chord Lesson 64: Review of Lessons 61-63 .. Lesson 65: Transposition Lesson 66: Other Triads—Minor = Lesson 67: Other Chords—Augmented and Diminished Lesson 68: Review of Lessons 65-67 Lesson 69: Another Chord Progression Lesson 70: More on inversions Lesson 71: More Transposition Lesson 72: Review of Lessons 69-71 Lesson 73: Relative Minor Key Signatures-Natural Minor Lesson 74: Harmonic Minor Lesson 75: Melodic Minor Lesson 76: Review of Lessons 73-75 Lesson 77: Harmonizing a Melody Lesson 78: Passing Tones and Neighboring Tones Lesson 79: Composing a Melody Lesson 80: Review of Lessons 77-79 Lesson 81: Chord Progressions in Minor Keys Lesson 82: Harmonizing a Melody in Minor Lesson 83: Composing a Melody in Minor Lesson 84: Review of Lessons 81-63, Manuscript Paper Answers to Review Lessons CORRELATES WITH Units 1-4 (Lessons 1-16) Units 5-7 (Lessons 17-28) Units 8-11 (Lessons 29-44) Units 12-14 (Lessons 45-56) Units 15-18 (Lessons 57-72) Units 19-21 (Lessons 73-64) 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 70 a 72 B 74 75 76 7 78 79 80 81 82 83 84 85 86, 87 92LESSON 1 THE STAFF Music is written on a five line staff. Line 5 Line 4 Line 3 Line 2 Line1 Between each line there is a space. There are four spaces on a staff. Space 4 Space 3 Space 2 Space 1 Musical sounds (low or high) are shown by the position of notes on the staff. Notes on the higher lines and/or spaces are higher in pitch (sound) than those on the lower lines and/or spaces. Sounds Sounds a =< higher = = lower than ° ° than 1, Draw a staff using the dots as your guide. 2. On the staff above, number the lines from low to high. 3. On the staff above, number the spaces from low to high 4. By using an arrow, indicate whether the second note of each of the following sets sounds higher —+ orlower ~. in pitch than the first note. = 5. By using the letter H (high) and L (low) indicate whether the first note of each of the following sets sounds higher or lower in pitch than the second note.LESSON 2 THE TREBLE CLEF AND STAFF At the beginning of each staff there is a clef. The treble clef or G clef looks like this: To draw the treble clef, first draw theline add the add the Follow the andtail toploop _—_bottomloop. _ dotted lines. Try drawing five treble clefs { hs ic The treble clef establishes the note G on the 2nd line of the treble staff - G Notes are named after the first seven letters of the alphabet (A through G). GA Be Ce In the beginning, to help you remember the lines and spaces, you may wish to make up a saying that uses the letters of the lines and spaces. For example, to remember the treble clef lines: Every Good Boy Does Fine. The treble clef spaces: FACE 1. Draw the treble clef at the beginning of the line and name the notes indicated. SE A 2. Draw the treble clef at the beginning of the line and draw the notes indicated. if the note can be drawn on more than one place on the staff, choose which one you want to write. ° D E B F G E F & B 3. Draw the treble clef at the beginning of the line and name the notes. Then using H and ate if the first note of each set sounds higher or lower than the second note. D_is H than BLESSON 3 THE BASS CLEF AND STAFF The bass clef or F clef looks like this: xe To draw the bass clef, first draw a solid black add 2 dots circle onthe add in the 3rd follow the 4thline thecurve and 4th spaces dotted lines. Try drawing five bass clefs. = 5 The bass clef establishes the note F on the 4th line of the bass staff. =—=——=— F Notes are named after the first seven letters of the alphabet (A through G). GA Bee Deen ee In the beginning, to help you remember the lines and spaces, you may wish to make up a saying that uses the letters of the lines and spaces. For example, to remember the bass clef lines: Good Boys Do Fine Always. The bass clef spaces: All Cows Eat Grass 1. Draw the bass clef at the beginning of the line and name the notes indicated. 2. Draw the bass clef at the beginning of the line and draw the notes indicated If the note can be drawn on more than one place on the staff, choose which one you want to write, D G B G A E A ic E 3. Draw the bass clef at the beginning of the line and name the notes. Then using H and L, indicate if the first note of each set sounds higher or lower than the second note.LESSON 4 REVIEW OF LESSONS 1-3 1. Music is written on a line staff. 2. There are spaces on the staff 3. Notes on higher lines andjor spaces sound__than notes on lower lines andjor spaces 4. The treble clef establishes the note. ‘on the second 5. The bass clef establishes the note__on the __ line. 6. Notes are named after the first letters of the alphabet ( through ___). 7. Draw the treble clef and name the notes indicated, 8. Draw the bass clef and name the notes indicated F E G D G A c B A 11. Draw the treble clef, name the notes and indicate if the first note sounds higher (H) or lower (L) than the second note. 12. Draw the bass clef, name the notes and indicate if the first note sounds higher (H) or lower (L) than the second note.LESSON 5 WHOLE—HALF— QUARTER NOTES The duration of musical sounds (long or short) is indicated by different types of notes. WHOLE NOTE HALF NOTE QUARTER NOTE 7° d é One whole note equals two half notes. ero is as One half note equals two quarter notes. Amcaca dig os ae One whole note equals four quarter notes. © = dao sede, The stems for half notes and quarter notes Stems go down if notes are on or go up if the notes are below the third line above the third line Stems going up are attached to the right side Stems going down are attached to of the note head, the left side of the note head. 1. One whole note equals___ half notes. 2. One whole note equals four ___ notes. 3. One half note equals___ quarter notes. 4, Four quarter notes equal one__note. 5. Draw stems on the notes indicated, SO 6. Draw the treble clef and draw the notes indicated, using half notes. A F c B E D F E G 7. Draw the bass clef and draw the notes indicated, using quarter notes.LESSON 6 MEASURES—BAR LINES—DOUBLE BAR LINES Music is divided into equal parts called MEASURES. BAR LINES indicate the beginning and end of measures. BAR LINE BAR LINE The distance between two bar lines is called a measure. DOUBLE BAR LINES, one thin and one thick, show the end of a piece. DOUBLE BARLINE BARLINE BAR LINE ‘MEASURE ={=MEASURE=t 1. Draw six bar lines on the staff below. 2. Divide the staff below into six measures and end it with a double bar line. 3. Draw a treble clef, divide the staff into six measures, add a whole note in each measure, name the notes, end the staff with a double bar line. 4. Draw a bass clef, divide the staff into six measures, add two notes in each measure, name the notes, end the staff with a double bar line. 5. Draw a treble clef, divide the staff into six measures, add four quarter notes in each measure, name the notes, end the staff with a double bar line.LESSON 7 TIME SIGNATURES AND NOTE VALUES TIME SIGNATURES are placed at the beginning of a piece of music, They contain two numbers that show the number of beats (or counts) in each measure and the kind of note that receives one beat. == == In 4 time, a whole note receives four beats The top number shows the number of ‘The bottom number shows what kind means four beats in each measure. A half note receives two beats. A quarter note receives one beat. beats (or counts) in each measure. of note gets one beat. means a quarter note ( ¢ ) gets one beat. 1. First count the beats. You may wish to tap your foot on each beat, Then clap the rhythm of the notes while counting the beats. eee here a diddy 2. Write in the beats under the notes indicated —remei measure. tits ad 2°34 td 1 | o 1234 jis _d smber, there are four beats in each J JL | pe dd 1d is le dee | 3. Count the beats and clap the rhythm of all of the lines 4, Add the bar lines in the following example, pod oy 5. Count the beats and clap the rhythm of the line above. o above. 1110 LESSON 8 REVIEW OF LESSONS 5-7 1. The duration of musical sound is indicated by different types of. One whole note equals two___notes. Two half notes equal. whole note, half notes Four quarter notes equal Stems go up if notes are below the. line Stems go down if the notes are on or above the line, Stems going up are attached to the ____ side of the note head. 2, 3, 4 5. Two quarter notes equal one___note. 6. 7, 8. 9. Stems going down are attached to the ____side of the note head 10. Music is divided into separated by. lines, 11. The end of a piece of music is indicated by a____line. 12. The top number of a shows the number of beats in each measure. 13, The bottom number of a time signature shows what kind of note gets. beat. 14. In time, there are. beats in each measure and a note gets one beat. 15. Write the beats under the notes below. pel ee ee 16. Add the bar lines in the following example, ek dd ed Wb ah hs ole 17. Fill in the missing beats with the correct note values. Write only one note in each measure. wos id | | eee eee) | 18. Count the beats and clap the rhythm of all the lines above.1 LESSON 9 THE GRAND STAFF straight line The treble staff and the bass staff can be joined together by a BRACE which consists of a straight line and a curved line. The combined staffs are called THE GRAND STAFF. ee — LEGER LINE 8 small line which is added above or below either the treble == The note MIDDLE C is on the leger line that joins the treble and bass staffs curved line THE GRAND STAFF 1. Draw the brace, treble clef, bass clef and name the notes indicated 2, Now add the time signature 3. Draw the brace, treble clef, bass clef, and draw the notes indicated. Use half notes on both staffs. If the note can be drawn on more than one place on the staff, choose which one you want to write. A D iG B F D c. E AoE. B G 4, Add the bar lines in their correct place. End the line with a double bar line.LESSON 10 LEGER LINES LEGER LINES extend either staff upward or downward, eo = 3 = ae DoE C3 ee see j Here is a grand staff with leger lines, encompassing a very wide range of notes from low to high. a2 FGABCDEFGABCDEFGABCDEFGABC 1. On the staff below, name the notes indicated, 2. On the staff below, name the notes indicated. 5-C's 4-E's 4-A'’s 4-B's 4-G's 4-F's 4—D's13 LESSON 11 WHOLE—HALF— QUARTER RESTS The duration of musical silence is indicated by different types of rests. WHOLE REST HALE REST QUARTER REST == Se One whole rest equals two half rests, ~~ sen Bs at ae One half rest equals two quarter rests. a ee ee m Qa One whole rest equals four quarter rests. = = TTS In 4 time, a whole rest receives four beats. #4-___-——_] a S Ahaalf rest receives two beats. 4}$—-—__-—_—_] a 8 : eae g A quarter rest receives one beat. a The combination of notes and rests produces sound and silence within a musical composition. 1, Fillin the missing beats with the appropriate rests, Use only one rest in each measure. Some measures may already be complete. +t : tt fe feta +-—f 2. Fill in the missing beats with the appropriate notes. Use only one note in each measure. Some measures may already be complete dd ae) o {4 eee eg feed | 3, Fill in the missing beats with either notes or rests. Use as many as you wish. hd | did | ieee “4 4, Draw the brace, treble clef, bass clef, and draw the notes indicated. If the pitch indicated can be drawn in more than one place on the staff, choose which one you want to write. ee eG op ic F A D A WB G0 or L_Quarternotes__} L_Halfnotes_) Whole |_Halfnotes_} L__Quarternotes__| Whole note note 5. Now add the time signature (4) and draw the bar lines. End the line with a double bar line14 LESSON 12 REVIEW OF LESSONS 9-11 1. The treble clef and bass clef can be joined together by a. When the treble clef and bass clef are combined, they form the A_____line is added above or below either staff. The duration of musical silence is indicated by different types of One whole rest equals two. rests, Two half rests equal whole rest Four quarter rests equal. half rests. eNO ew Two quarter rests equal one. rest. 9. Name the notes indicated. e 2 10, Name the notes indicated. = a = 2 = = 11. Draw the notes indicated. If one pitch can be drawn in more than one place on the staff, choose which one you wish to write. Add the bar lines and end the line with a double bar line. B EB G er Dee Wea F ter | Half Whole Half | Quarter_y Whol (cHatenosess] t= __}_if 13-3 Losec A quarter note or rest equals one beat gpd di, pod : ie 3 MGS —_—— 1. Count the beats, then clap the rhythm of the notes and rests. gedit did pid Jedd pd Sd id g 2. Write the beats under the notes. Remember, there are three beats in each measure. 3. Count the beats and clap the rhythm. eed yd ody dd ppd dd ld ppd ly 4, Fill in the missing beats with notes or rests, then clap the rhythm. g++—+—_4 pod jd} 44 5. Draw the brace, treble clef, bass clef and a 3 time signature. Then name the notes and add stems where needed. 2 = In actual music notation a whole rest is used to indicate a whole measure of rest regardless of the time signature,7 LESSON 15 THE DOTTED HALF NOTE ADOT placed after a note adds one half the value of the original note. In 4 time, ahalf note ( d ) equals two counts, A dot after a half note (-) adds one count (half of the original value), Therefore, a dotted half note (d.) equals 3 counts. Count the beats and clap the rhythm son a eee ane eS geittit 1d : Pewee { eee oe ee ee ee 1. Write the beats under the notes. Count the beats and clap the rhythm. geod iss id de dd 2. Fill in the missing beats with notes or rests, then write the beats and clap the rhythm. a Hope f+ + 3. Draw the treble clef, name the indicated notes, add the bar lines and double bar line at the end of the line. SS + =: 4, Draw the bass clef, name the indicated notes, add the bar lines and double bar line at the end of the li —z — # a = oe wu 5. Name the notes indicated, then draw the bar lines and clap the rhythm.18 LESSON 16 REVIEW OF LESSONS 13-15 1. In J time, there are beats in each measure. A quarter note receives ______ beat. 2. In $ time, there are beats in each measure. A _____ note receives one beat. 3. Adot placed after a note adds _the value of the original note. 4. Add the number of counts and write the sum under each line. jet hee deeds oe te 3 5, Add the number of counts and write one note equal in value to the sum. ee da dee ds os 6. On the following lines, draw the bar lines to complete each measure and write the counting under each measure. op eed ee pecs espe ede egy qd. 1. Je ye de : Zed i eae eee fei 7. Draw the brace, treble clef, bass clef, and name the notes indicated. Then add the bar lines and clap the rhythm. 8. Complete the following rhythmic line with notes and rests, then add the counting under each measure. at — i19 LESSON 17 TIES AND SLURS ATIE is a curved line that connects two adjacent notes of the same pitch. The tone is held as though the two notes are one. ees A SLUR is a curved line that connects notes of different pitch. A slur indicates that the music is to be sung or played as smoothly as possible. There should not be any space between the notes within the slur. 1. Write the number of beats that each pair of tied notes would receive 4d 2 d Se beats ede. —_ beats a. 3 beats o_o =___ beats ded Wd beats ° _—_ beats _—__ beats d _—_ beats 2. Write the note that equals the number of beats that each pair of tied notes would receive. ° ded = Sa po 4, Add the bar lines in the following examples, then count and clap the rhythms, pr eee ee ee Re ee =20 LESSON 18 REPEAT SIGNS Two dots placed before a double bar line =] means go back to the beginning and play again Sometimes, you repeat back to another repeat sign. gee tle pe pps td jay 1, On the blank staff below, write the indicated piece of music as it would appear without using a repeat sign, (Some notes are indicated as a guide.) 2. On the blank staff below, write the indicated piece of music as it would appear without using the repeat signs. (Some notes are indicated as a guide.) 3. On the blank staff below, rewrite thisa LESSON 19 FIRST AND SECOND ENDINGS The repeat sign tells you to go back to the beginning. On the repeat, skip the first ending and play the second ending PLAY THIS ENDING FIRST TIME ONLY SECOND TIME ONLY L—— Ss 2, ae ee SECOND TIME 1. On the blank staff, write this piece of music as it would appear without the first and second endings, aes T 2. 2. On the blank staff, rewrite this piece of music using a first and second ending22 LESSON 20 REVIEW OF LESSONS 17-19 1. Atie is a curved line that connects two notes of the pitch. 2. The tone is held as though the two notes were 3. Asluris a curved line that connects two notes of. pitch. 4. Aslur indicates that the music is to be sung or played as _________as possible. 5. Two dots placed before a double bar is a sign. 6. Arepeat sign means go back to the________and play again. 7. Sometimes, you repeat back to another__sign. 8. If a piece has a first and second ending, you play the first ending the___time only, On the repeat you. the first ending and play the ending. 9. Add the number of counts and write the sums. ee " wo + _ 10. Subtract the number of counts and write the remainder. d_d - a aula i ase J d 8 d ae oe 11. Write the word tie or slur, describing the curved line in each measure. 12. Each measure has one mistake. Make changes or additions so each measure is correct.23 LESSON 21 EIGHTH NOTES An EIGHTH NOTE looks like a quarter note with a flag added to its stem. To draw an eighth note Try making these quarter first draw a quarter note. Then adda flag. notes into eighth notes. ts: = tae tae ta. z Two or more eighth notes are Try drawing two pairs of beamed eighth notes joined together by a beam. (1 pair stems up — 1 down). ee Two eighth notes equal one quarter note send i Four eighth notes equal one half note iiea-e aS Cas por. ‘ se a) Eight eighth notes equal one whole note. oe Jae =o Ce ey In 4 time, an eighth note receives % of a beat. 4 eens a @ 1. Fill in the missing beats with the appropriate notes. Use only quarter and/or eighth notes, git _4, _ 0 5 I gd) ee eee | 2. Add the number of counts and write the sum under each line. Do ee pea ee ; er a ee 3. Add the number of counts and write one note equal in value to the sum. Noo eee We eee ee i a ‘24 LESSON 22 EIGHTH REST An EIGHTH REST looks like this. Try drawing 5 eighth rests. Two eighth rests equal one quarter rest. ¥y SR ces eo €% Four eighth rests equal one half rest. Yds e Woo) hey Pe EL IN ee Eight eighth rests equalonewholerest. oY 7777799 =~ ST tay In 4 time, one eighth rest equals % of a beat. +e i L&2RIe 4K 1. Fill in the missing beats with the appropriate rests. Use only quarter and/or eighth rests. \ | N J Hee ee Lod +h T 1 T T 1 Hl 2. Fill in the missing beats with the appropriate notes or rests. Use any or as many as you wish. gq Gb di Mil, 4d 4 jd 3. The first measure in each of the lines below is complete. Add the correct time signature and complete the remaining measures. Write in the counting. Then count the beats and clap the rhythm, 4+ ib 1d _1Ii1 44 gees tay te speedy =25 LESSON 23 DOTTED QUARTER NOTES We already know that a dot adds one half the value of the original note. In 4, 3,3 times, a quarter note equals one count. ¢ = one count( 9) A dot after the quarter note adds 4 count (4 of the original value). ¥% count( 2) 1% counts (fed) a jd F ja | pe 1 i Weel 1 2 DieG\ecai ee gt Diy. Me = da 1 2k 2 AR 1 Oe BOS 11 Oars Ae 12 3 A dotted half note equals 14 counts. 4, Add the bar lines in the following examples, then count the beats and clap the rhythm. aA a qt ei eee ee 2. Add the bar lines and name the pitches. 3. Add the bar lines and draw the pitches indicated. If the pitch indicated can be drawn in more than one place on the staff, choose which one you want to write. Use the rhythm indicated. flere Nets Natalee! [eee eee lee) Ls] EGA G-A~ 9G: G DEG A=3G F CF G=D BER kk 4, Count the beats and clap the rhythm of the lines above.26 LESSON 24 REVIEW OF LESSONS 21-23 1. An eighth note looks like a quarter note with a added to its stem. 2. Two or more eighth notes are joined together by a 3. Two eighth notes equal___quarter note 4. Four eighth notes equal__quarter notes. 5. One whole note equals___half notes, or. quarter notes, or. eighth notes 6. Adotted note receives 1% counts. 7. Answer each problem with only one note. \ Ja Sou deo fied - Jee d. +dd- | dtd - ee 8, Answer each problem with only one note. | 2 dye die Cae 9. Write the correct time signature for each of the following measures. eo ny » dad 2] ‘ey 2 dy 10. Write the following rhythm on the blank staff using any notes you wish. Mi Ty, Fa, 1 10 pis, 2d pdod, «| qe T27 LESSON 25 FLAT AFLAT SIGN (b) lowers the pitch of a note a half step. If we look at a piano keyboard, we see that the black key to the left of a white key is a half step lower. When saying a flatted note’s name, we say the letter name first and the flat next — B flat, When we write it on the music, the flat sign comes first To draw a flat, first draw the vertical line. Then add a curve. Try drawing 5 flats. 1, Write the names of the notes indicated, 2. Draw the notes indicated. Db Gb BD ab Bb Go Bb ED p> Ab 3. Draw the brace and clefs, then name the notes and draw the bar lines. End the line with a double bar — a be oe28 LESSON 26 SHARP A SHARP sign (f) raises the pitch of a note a half step, If we look at a piano keyboard, we see that the black key to the right of a white key is a half step higher. When saying a sharp note’s name, we say the letter name first and the sharp next — C sharp. When we write it on the music, the sharp sign comes first. To draw a sharp, first draw Then add the the two vertical lines. slanted lines. Try drawing 5 sharps. = = 1. Draw the notes indicated. 3. Draw the brace and the clefs, then name the notes and draw the bar lines. End the line with a double bar. ete * == Shots tt 4) he .29 LESSON 27 NATURAL ch ANATURAL sign (4) cancels the effect of a flat or sharp. == Then add another To draw a natural, first draw an L 7 upside down, Try drawing 5 naturals. A natural is centered on the line or space it affects. Flats, sharps and naturals are called ACCIDENTAL signs. When they are placed before a note, they affect every note on the same A natural sign cancels the flat or line or space for an entire measure sharp within the same measure. Also. Also Also sb “tb oct a Bb Bb nh ch ch Abar line also cancels an accidental Also Also BD BD Bh Be When a note is tied across the bar line, it’s accidental carries across also. Also Also Also Also BD Bb Bb 1. Write the names of the notes indicated. 2. Write the names of the notes indicated,LESSON 28 REVIEW OF LESSONS 25-27 1, A flat sign () the pitch of a note one half step. 2. Asharp sign (4) the pitch of a note one half step. 3. Anatural sign (g) cancels the effect of a___or. 4, Flats, sharps and naturals are called 5, Answer the following four questions true or false. A flat or sharp affects every note on the same line or space for an entire measure. A natural sign cancels a sharp or flat within the same measure A bar line does not cancel an accidental When a note is tied across the bar line, its accidental is cancelled 6. On the blank staffs below, write the following piece, using three repeat signs and 1st and 2nd endings. Then name the notes CULMINATION COMPOSITION CULMINATION COMPOSITION WITH REPEATS, [eee a ee Ree ee31 LESSON 29 WHOLE AND HALF STEPS Tones of the scale are separated by whole and half steps which are easily seen ona piano keyboard OCTAVE, es al | i kb c|p/E|F/Gc/a/Bic IS, whole half step step Adjacent piano keys are a half step apart; therefore, E to Fis a half step while Cto D, which includes C# (two keys or two half steps), is a whole step. You will notice that the black keys get their names from the white keys. Each black key has two names. When going up the keyboard, the black keys are a half step higher than the white keys and are called by their sharp names—C, Cf, D, Df, etc. When going down the keyboard the black keys are a half step lower than the white keys and are called by their flat names—B, Bb, A, Ab, etc. Although the black keys have two names, they have only one sound. Two notes that sound the same but are written differently are called ENHARMONIC notes. Name the notes and indicate if the distance between the first and second notes is a whole step (w) or a half step (14). Ch CH Indicate the distance between the notes.32 LESSON 30 CHROMATIC SCALE The chromatic scale is made up of all of the notes on the keyboard. Therefore, every note of the scale is a half step apart. When going up the scale, we use the sharp name for the black keys. When coming down the scale, we use the flat names. ote = c ct p pg © F FH G Gt A ag BC B Bb A Ab G Gb F E ED D Db Cc Going up the scale is called ascending, Going down the scale is called descending 1, Write the ascending version of the chromatic scale starting on the note C, then name the notes. = x 2. Write the descending version of the chromatic scale starting on the note C, then name the notes. 2 x 3. Fill in the missing notes in this chromatic scale.33 LESSON 31 THE MAJOR SCALE ae 6 Bi do The major scale is comprised of eight consecutive 2 tones in alphabetical order, from ‘do’ : la to “do” one octave higher. 3 50 2 Te 1 DJ me Cir do If we start at C and go up the keyboard playing the white notes, we see that all of the tones in the C scale are separated by a whole step with the exception of E to F and B to C, which are half steps. half step half step ee a C20 re a nC Tesi ae As ote bee Se ee whole whole whole whole whole step step step step step If we divide the eight notes into two groups of four, we see the pattern of whole and half steps is the same for each group (whole step, whole step, half step) half step half step aa whole whole step step whole whole step step tetrachord whole step tetrachord This group of four notes is called a TETRACHORD. When two tetrachords are joined together by a whole step, they make up a major scale. In the C scale, the C tetrachord and the G tetrachord are joined by the whole step between F & G. 1, Write a tetrachord beginning on C Write a tetrachord beginning on G. —S — a 2. Write aC scale and indicate the whole (W) or half (14) steps between each note. = Ww et ae = a = = 3. Write a C scale in the bass clef.34 LESSON 32 REVIEW OF LESSONS 29-31 1. Tones of the scale are separated by___or. steps. 2. Each black key has. names, 3. The black keys get their names from the ____keys. 4. When going up the keyboard, the black key names are____a hallf step by using the symbol__ for sharp 5. When going down the keyboard, the black key names are_________a half step by using the symbol__for flat 6. When two notes sound the same but have different letter names, they are called In the chromatic scale, each note is a__step apart. The major scale is comprised of consecutive tones The major scale is comprised of ___tetrachords Seen The formula of whole and half steps for a major scale is: = oe 13. Write a descending chromatic scale beginning on the note C. 2 > : = 14, Write a C major scale in the two octaves that are indicated by the starting and ending notes.35 LESSON 33 MORE MAJOR SCALES (F&G) The pattern of whole and half steps that we saw in the key of C is the same for any major scale, no matter which note we start on. If, for example, we started on the note G, the scale would look like this: flat en me ee Ge AaB Ce DB ENS Gl 1 2 3 4 5 6 7 8 whole step You can see that the note F has been changed to Ff. If it were Fh, the second tetrachord Since the formula is whole step, would have been: whole step, half step — the F had to be raised to Ff. oe Pie Do 2G DES Fy ecG Bae ee: Becher 8, Se ee Se Applying the same formula to a scale beginning on F results in the F major scale. Notice that the B has been lowered (b) to BD. 2a oa Foc Gee ESB g Gee DE {EOF 1 2 2: 4 7 6 7 8 Se eae 1, Draw eight notes on the staff from G to G. Check the whole and half step formula and add any necessary accidentals to make these eight notes a G major scale ee 2. Draw eight notes on the staff from F to F, Check the whole and half step formula and add any necessary accidentals to make these eight notes a F major scale. See 3. Write a G major scale ascending and descending. 4. Write an F major scale ascending and descending.36 LESSON 34 OTHER MAJOR SCALES (B>-Eb—D-—A) If we use the pattern of whole and half steps, we can construct scales beginning on any note. Remember, a major scale is made up of eight consecutive tones. Think of two tetrachords separated by a whole step. half step oS a ‘| 2 et | Bene 7 8 Sa pee whole ' step tetrachord whole step tetrachord 1. Start on the note BP. Draw eight consecutive notes. Add the necessary accidentals to make it a BD scale. Then, indicate the whole and half steps. You may use the keyboard to check your scales. 3. Write a major scale beginning on D. Indicate the whole and half steps 4. Write a major scale beginning on A. Indicate the whole and half steps.37 KEY SIGNATURES When constructing the scales, we wrote the sharps and flats before each note in the music. To make the writing process easier, we can indicate the flats or sharps to be used in a composition at the beginning of the piece. This is called a KEY SIGNATURE and tells the performer that the accidentals indicated are in effect throughout the piece. For example, the Fé in this key signature, which appears on the top line of the staff immediately following the clef, indicates that all of the P's in this composition are to be played F The key signatures of the scales we already know are: The key of C —no sharps or flats. The key of G—1 sharp The key of D —2 sharps The key of F—1 flat The key of Bb—2 flats 1. Write the key signatures for each key. — The key of C The key of G The key of D The key of F The key of Bb 2. Write the key signatures in bass clef The keys of: C G D F Bb38 LESSON 36 REVIEW OF LESSONS 33-35 True or false The formula of whole and half steps is the same for all major scales The key of F contains 1 sharp. The key of BY contains 2 flats. The key of D contains 2 flats. The key of Eb contains 3 flats. The key signature is placed at the beginning of a composition, immediately following the clef 7. ______ The amount of sharps and/or flats in the treble clef signature is different from the amount for the same key in the bass clef. ourens 8. Write the following scales: first write the key signature, then name the notes. Bb major scale D major scale F major scale G major scale > SST Eb major scaleNOURENRS = 39 LESSON 37 CIRCLE OF FIFTHS MAJOR SHARP KEYS Keys are related by fifths. If we start on C (whose key signature has no sharps or flats) and g0 up the scale five notes, we come to the note G (whose key signature has | sharp). If we £0 five notes up the G scale, we come to D (whose key signature has 2 sharps). This pat- tern continues throughout all of the sharp keys. no sharps 1 ahaeo 4) 2 sharps 68.c8) | Shams cho E = 4.ck. ch, 08) a 7 7 sharps(F$, CE. C8, OLA EF. 68) sharps (F.C. ‘GB, DBAS 2) A fifth above C is the key of which contains sharp. A fifth above G is the key of, which contains sharps. A fifth above D is the key of _____ which contains sharps. A fifth above A is the key of which contains sharps. A fifth above E is the key of which contains sharps, A fifth above B is the key of _____ which contains sharps. A fifth above Ff is the key of ______ which contains sharps, Write the sharps in the order they are added to the key signatures. mie Here is a helpful hint for naming sharp keys: THE NAME OF THE KEY IS ONE LETTER NAME HIGHER THAN THE LAST SHARP IN THE KEY SIGNATURE.40 LESSON 38 CIRCLE OF FIFTHS MAJOR FLAT KEYS If we start on C and go down the scale five notes, we come to the note F (whose key signature has 1 flat). If we go five notes down the F scale, we come to BD (whose key signature has 2 flats). This pattern continues throughout all of the flat keys. 1 lash) iS fae, by obs stats (83 69, 49.0b) * alas 82,19, Ab) 5 flats (02, E>. Ab. Ob, chy ee ob 7 as (8b, €, Ab, 2.69, C>, 9) sas. 2:09.69.) ee, a) 1. A fifth below C is the key of which contains. flat. 2. A fifth below F is the key of which contains flats. 3. A fifth below BD is the key of. which contains. flats, 4. A fifth below Eb is the key of. which contains flats. 5. A fifth below Ad is the key of______ which contains. flats, 6. A fifth below Db is the key of. which contains. flats. 7. A fifth below Gb is the key of which contains flats. Write the flats in the order that they are added to the key signatures. Bb Eb Here is a helpful hint for naming flat keys: THE KEY OF F MAJOR HAS ONE FLAT. KEYS WITH MORE THAN ONE FLAT ARE NAMED BY THE NEXT TO THE LAST FLAT IN THE KEY SIGNATURE.41 LESSON 39 CIRCLE OF FIFTHS ALL MAJOR KEYS If we put the sharp keys and the flat keys together, the circle would look like this: so sharps _ tte) =o a “Pasiy no tats 2 sharpstFR.cb 1 la) a les (0b, 6) Sharps cho afta. 83.0.44.0h ad fl TENGE cy 7 flats (Bb, Eb, Ab, Db, Go, Co F) 1 sharps. C8 : Ces aaah aa CF, DB. Ag, EF) The following keys are enharmonic equivalents: Db & C#, Gb & Ff, Cb & B. They sound the same but are spelled differently. ——_______. 1. Write the names of the keys in the circle of 5ths under the staff. Then write the key ignatures of all of the keys. Sharp Keys Flat Keys42 LESSON 40 REVIEW OF LESSONS 37-39 are related by fifths. The key of E has. sharps. The key of has 3 sharps The key of A has flats. The key of ____has 5 flats. weno 6, Name the keys indicated by the following key signatures: 7. Write the following key signatures:43 LESSON 41 DYNAMICS Dynamic signs indicate how loudly or softly music should be played. The symbol #P pianissimo — means: very soft The symbol? piano — means: soft The symbol mp mezzopiano — means: moderately soft The symbol my mezzoforte — means: moderately loud Thesymbol f forte — means: loud The symbol Jf fortissimo — means: very loud Acrescendo ————— means: gradually get louder Adecrescendo —————_ means: gradually get softer 1. Write the dynamic symbols for the following volume indications: soft See loud very loud very soft moderately soft moderately loud gradually louder gradually softer 2, Define the following dynamic markings: = —— Ie ee mp 1D wf Ff ee Pp 3. Clap or tap the following lines, carefully observing the dynamic markings. age DOO, » ¥ a. : : p i bs te a oh B cE : iQ44 LESSON 42 D.C. AND D.S., CODA AND FINE The following symbols and terms are often used in music: DaCapo — means: go back to the beginning Dal Segno — means: go back to the sign ($$) Fine = the end If we put them together, we get: D.C. al fine = Go back to the beginning and play to the end, indicated by Fine. DS. al fine = Go back to the sign ($§) and play to the end, indicated by Fine. Sometimes a composition ends with a separate closing section. This is called a Coda and is indicated by a Coda sign (4). If we combine Coda with D.C. and D.S., we get: D.C. al Coda = Go back to the beginning and play to the Coda sign (@), then skip to the Coda to end the piece D.S. al Coda = Go back to the sign ($) and play to the Coda sign (€), then skip to the Coda to end the piece. 1. On the blank lines below, write the first line as it would be played. D.C. al Fine ap +4 2. On the blank lines below, write the first line as it would be played Fine D.S. al Fine lip pial dpaltea | | | T T ~ 3. On the blank lines below, write the first line as it would be played D.C. al Coda Coda45 LESSON 43 TEMPO MARKINGS AND OTHER MUSICAL SYMBOLS Tempo markings tell how slow or fast to play the music. Largo = very slow — broadly Allegro = fast Adagio = slow Presto = very fast Moderato = moderate Accelerando = gradually get faster Ritardando = gradually get slower Other musical symbols guide the performer in interpeting the composer's wishes, ® = Fermata — means: hold the note longer than its normal value > = Accent — means: play the note a little louder + = Staccato — means: play the note short = = Tenuto — means: hold the note for its full value 1. Write the tempo markings for the following speeds: fast gradually getting faster very slow moderate very fast, slow gradually getting slower 2. Draw the symbol that means: hold the note longer than its normal value hold the note for its full value play the note short play the note a little louder 3. Sing the following lines on the syllable “Tah” carefully observing the tempo markings, dynamics, and other musical symbols. Adagio accelerando and crescendo -46 LESSON 44 REVIEW OF LESSONS 41-43 Define the following symbols: 1a BoP IF. 6. 3. mf ‘2 = 4. mp 8 = Define the following terms DC DS. Fine D.C. al Fine DS. al Fine Coda D.C. al Coda D.S. al Coda 9. Presto 10. Allegro 11. Moderato 12. Adagio 13. Largo 14. Ritardando 15. Accelerando Ge) tlih ty eo Define the following symbols: > a 5 Ss On the blank lines below, write this rhythmic composition as it would be played. 3 x of, ci DS. al Coda J 2. 7 T47 LESSON 45 SIXTEENTH NOTES A sixteenth note looks like an eighth note with a second flag added to its stem. To draw a sixteenth note, then add a Try making these eighth first draw an eighth note, second flag notes into sixteenth notes. Two or more sixteenth notes are Try drawing two pairs of beamed six- joined together by two beams. teenth notes (1 pair stems up, 1 down) Two sixteenth notes ° equal one eighth note. fe) ian ae Four sixteenth notes Aa an « Eight sixteenth notes | eee equal one half note UasdJaed sd 4 A 2 14 a4 a , ‘ Sixteen sixteenth notes PRIS equal one whole note. ddddddeddddddddd =o Inf time, sntenth note receives ofa beat, 4 Codd da dd TT, leka2ekadekateka i in the missing beats with the appropriate notes. Use only quarter, eighth, and sixteenth notes. 4G ), Fa IT JT) 4 age tid ei era ep re are eee 2. Add the number of counts and write the sum under each line. ie lias ee Ne de 3, Add the number of counts and write one note equal in value to the sum. d Wa J de io Jaga Je 4 4 a PrP 5573 d 4 }48 LESSON 46 SIXTEENTH RESTS A sixteenth rest looks like this. Try drawing five sixteenth rests. on Two sixteenth rests ~ equal one eighth rest. a7, AE Four sixteenth rests yiyy-d eX TaN equal one quarter rest. i eae} Eight sixteenth rests wage sue PN Ne pal ore Boke HY {eh i y sogy seg. 4 yyy eee gars CCECEER EERE ALE Rh /elen ECCEELLEELC EEE] In 4 time, one sixteenth rest equals %4 of a beat. + aa Leka2ek&atsekateka 1. Fill in the missing beats with the appropriate rests, using only quarter, eighth, and sixteenth rests. go) oe hd 2. Fill in the missing beats with the appropriate notes or rests. Use any or as many as you wish. vo d jaa iii LTT. de 3. The first measure in each of the lines below is complete. Add the correct time signa- tures and complete the remaining measures. Write in the counting. Then count the beats and clap the rhythm. pap y fer _ J oe ties De se49 LESSON 47 DOTTED EIGHTH NOTES We already know that a dot adds one half the value of the original note. ¥% count (£3) In 4, 3, % times, an eighth note equals 4 count. A dot after the eighth note adds * = % count (4) % count (‘4 of the original value) A dotted eighth note equals % count. 2 = % count (FFA) yp ii DA i Niel) | ee 1 & a2 N 1 (&)a 2 1 (&)a 2 (&)a + 2 1 (&)a 2 yp DA EDEL L ste PPR Prarie | 1 1 &a2 &a3 (&)a4 (&a 1 (&)a2 (&)a 3 (Wad (Ka 1 (2) 3 4) 1, Add the bar lines in the following examples, then count the beats and clap the rhythm. qe | Ei —on Se ee eo eee ee 2. Subtract the number of counts and write the answer under each line. 4 a 4 ‘ d a -d ee ee a 3. Subtract the number of counts and write one note equal in value to the answer. d 4 d d a J ee) ee ea50 LESSON 48 REVIEW OF LESSONS 45-47 added to its stem. 1. Asixteenth note looks like an eighth note with a second Two or more sixteenth notes are joined together by two Four sixteenth notes equal. eighth notes. Eight sixteenth notes equal one note. One whole note equals. sixteenth notes A dotted, note equals % of a count. 7. Answer each problem with only one note Jee Mol 8. Answer each problem with only one note. " gal + a + 10. Write the D & G scales using eighth, dotted eighth, and sixteenth notes. First write the key signature, then the 4 time signature. é Dscale Gscale 11. Write a Bb scale using eighth, dotted eighth, and sixteenth notes. First write the key signature, then the 3 time signature.51 LESSON 49 INTERVALS In music the term INTERVAL refers to the distance between two notes. Intervals are always counted from the lower note to the higher one, the lower note being counted as one. For example, the interval from C to D is a second (C is 1—to D is 2) ee ot S = = e = = 1 1 1 2 1(2)3 1(23)4 = 1(234)5 1 (2345)6 1 (23456)7 1 (234567)8 Called: prime second third fourth _ fifth sixth seventh octave If the two notes are sounded simultaneously, they are called HARMONIC. If the two notes are sounded in succession, they are called MELODIC. Harmonic Melodic 1. Count the distance from the lower to the higher note and name the interval. 2, Write the note that completes the melodic interval above the indicated note. eo 3rd 6th 2nd Octave 4th 3, Indicate whether each interval is harmonic (H) or melodic (M),52 LESSON 50 DIATONIC INTERVALS If the upper note of an interval is found in the major scale built on the lower note, it is a DIATONIC INTERVAL. Ifa prime, fourth, fifth, or octave are diatonic (both notes appear in the same scale), they are called PERFECT INTERVALS. oe oe Soro Perfect Perfect = Perfect ~——Perfect Prime Fourth Fifth Octave Ina major scale, if a 2nd, 3rd, 6th, or 7th are tonic, they are called major intervals es eS = = = = Major Major Major Major and 3rd 6th 7th 1, Name the intervals indicated. Use P for perfect, M for major. — ° e = aS = oo = ° oe ae | = ° 2 2, Write the note that completes the interval above the indicated note. —— rs 2 = oe 1 = = = = ° PPrime Path M2nd — Poctave = Méth M3rd PSth M7th 3. Name the intervals indicated. S: = = 2 = = =53 LESSON 51 CHROMATIC INTERVALS If the upper note of an interval is not found in the major scale built on the lower note, it is called a CHROMATIC INTERVAL. If the upper note is % step lower than a major interval, it is called a MINOR INTERVAL. & = = re 2 be - roe = es = = = = Major 2nd minor 2nd Major 3rd minor 3rd Major 6th minor6th Major7th minor 7th If the upper note is ¥% step lower than a minor or perfect interval, it is called a DIMINISHED INTERVAL | o 2 2 SS Sen Se Sete m2 dim2 m3 dim3 P4 dim4 P5 dim5 m6 dim6 m7 dim7 P8 dim8 (octave) (octave) If the upper note is % step higher than a major or perfect interval, it is called an AUGMENTED INTERVAL. — jo ote s = ss al eo = oS PP augP M2 aug2 M3 aug3 P4 aug4 P5 augS M6 aug6 M7 aus 7 Fa jugs (octave)(octave) 1. Name the intervals indicated. be go = SS : = 2. Write the note that completes the interval above the indicated note. & = SS : : dima augs dim2 aug6 augP dim3 dim P 3. Name the intervals indicated,54 LESSON 52 REVIEW OF LESSONS 49-51 1, The term____refers to the distance between two notes. Intervals are counted from the. note to the higher one. If two notes are sounded simultaneously, they are called If two notes are sounded in succession, they are called yrRen If the upper note of an interval is found in the major scale built on the lower note, it is called a, interval. 6. If the upper note of an interval is not found in the major scale built on the lower note, itis called a interval, 7. Name the intervals indicated. 8. Write the intervals indicated. PP dima dima maj2 augd dims min3 augs 9. Name the intervals indicated. — = Ste = 2 = a alle 10. Write the intervals indicated = z = = = — = =° = = 2 maj3 min3 aug4 dim6 PS min2 dim2 dimsi a a i a a i i 55 LESSON 53 MORE TIME SIGNATURES ‘The top number shows the number of beats (or counts) in each measure. The bottom number shows what kind of note gets one beat. means three beats in each measure. means an eighth note gets one beat = In time, an eighth note or rest receives one beat. ~~ eae, ¥ ie Ss A dotted quarter note or rest receives three beats. 4 means six beats in each measure. means an eighth note gets one beat. In § time, an eighth note or rest receives one beat. god ee eee A dotted quarter note or rest receives three beats. 4g = 58.3: 4596 = 1. Count the beats, then clap the rhythm of the notes and rests while counting the beats. pap PP ee ee Pe pT ty Ty Tae 3) 23 Ces eas odes 123) 2. Write the beats under the notes. Remember, there are six beats in each measure. ‘Count the beats and clap the rhythm. + TLL I. {Tey 3. Fill in the missing beats with notes or rests, then clap the rhythm,56 LESSON 54 ANOTHER WAY TO COUNT When § time is played at a fast tempo, itis usually counted “in 1” agra dy ite 1 When § time is played at a fast tempo, itis usually counted “in 2” ged Ty lea2&ha Sometimes 4 time is indicated with the letter C which stands for COMMON TIME. It is just another way of saying 4 time GE and ée mean exactly the same thing, If the C is cut in half (¢) it is called CUT TIME or ALLA BREVE. It means the 4 is cut in half to 3. The music would sound the same but it is counted “in two" att ye LL 1 2 3&4& 1 & 2eka Write the counting under the following lines. Then count the beats and clap the rhythm. Slowly “in 3” gg dy dd bY 4 , Fast “in 1” Slowly “in 6” (pL ee Fast “tin 2” ma ageless ag Pe TD i see cpp he ele ee Fh pe PET cl oh) Pe a aeLESSON 55 TRIPLETS A TRIPLET is a group of three notes that are performed in the space normally allotted for two of the same kind of note. 1 wiplet 2 triplet 3 triplet 4 triplet DeceSee ake 3 z 3 aa, a eee ee eee 1 triplet 2 triplet 3 qh. oo 1 triplet 2 2 & | 1 wiplet 2 triplet SYNCOPATION In jazz, rock, and pop, as well as in classical music, the accents sometimes come on the normally weak divisions of the beat, adding new excitement to the music. This is called syncopation. age )J toe diy yg dd. sydd. tR@S 3 47-1 &2)& 34 042) 9 <1 802) 3 Add the bar lines in the following lines and write the counting under each measure. Then count the beats and clap the rhythms. Mall Eo) Bh A a ee cop doped cs SEL cD 57 (palo oe ae]58 LESSON 56 REVIEW OF LESSONS 53-55 1. Ingtime, an note receives one beat. 2. Ing time, there are. beats in each measure. 3. In §time, there are six beats in each. 4. In §time, an eighth note receives. count. When § time is played fast, it is counted When is played fast, n is counted “in. ____is the symbol for common time. ¢ is the symbol for___ time . Cut time is also called Breve. A triplet is a group of. notes. BS eenoau . When accents are placed on weak beats, it is called. Add the bar lines and write the counting under each measure, Then count the beats and clap the rhythm. Fast “in 2” ng dd ay Jere a, eee Jagas) eee r wag DD DE ry nap ee te ee 16. Write an Eb scale, using a syncopated rhythm pattern, First write the key signature, then the 4 time signature. £ es oe59 LESSON 57 MAJOR CHORDS — MAJOR TRIADS A chord is a combination of three or more tones sounded simultaneously. A triad is a 3-note chord ‘A major triad can be constructed by thinking of the Ist, 3rd and Sth notes of a major scale. It gets its name from the root note. C Major Scale C Major Triad 4 2 s i 1 A major triad can also be constructed by thinking of intervals. The major triad is a major 3rd plus a minor 3rd. = 1 Basie Shoei Major 3rd Minor 3rd Major Triad —— lus a eal 1. Name the following major triads. The triad built on D is.the only one in the above example that uses an accidental (FH). If you did not write an Ff, you either did not think about the D scale or about the major 3rd and minor 3rd. 3. Write a D scale. 4. Write a D major triad. ae60 LESSON 58 CHORDS RELATED TO A KEY A chord’s relationship to a key and to other chords within that key is indicated by numbering the chords from 1 to 8. The numbers are shown with Roman numerals. se F G ie I Vv v Vill or 1 This example shows that the chord built on the Ist degree of the C scale is the C chord, which is the I chord in the key of C. The chord built on the 4th degree of the scale is the F chord, which is the IV chord in the key of C, and the chord built on the 5th degree of the scale is the G chard, which is the V chord in the key of C. 1. Write the chords indicated. 2. Write the chords indicated in the key of C. ee 3. Give the letter name of each of 4, Write the chords indicated the following chords. in the key of F. 5. Give the letter names of each of 6. Write the chords indicated the following chords. in the key of G.61 LESSON 59 CHORD PROGRESSIONS The movement from one chord to another is called a chord progression. One of the most popular chord progressions used in all styles of music, including pop, folk, rock and jazz as well as classical, is the | IV V | progression. We have already written this progression in the keys of C, F and G. key of C key of F 2. Write the I IV V | progression. in the key of Bb. Then give 1, Write the Bb scale. the letter name of each chord. = 4, Write the 1 IV V | progression in the key of D. Then give 3. Write the D scale. the letter name of each chord & % = == 6. Write the 1 IV V | progression in the key of Ed. Then give 5. Write the Eb scale. the letter name of each chord = 8. Write the | IV V I progression in the key of A. Then give 7. Write the A scale. the letter name of each chord.62 LESSON 60 REVIEW OF LESSONS 57-59 1. Achord is a combination of or more tones sounded simultaneously. 2. Atriad isa note chord. 3. A major triad is made up of a root, and fiith. 4, Amajor triad gets its name from the _____ note. 5. The natural movement from one chord to another is called a 6. Write the chords indicated. 7. Write the chords indicated. 8. Write the I IV V | progression in the following keys. Write the Roman numerals below the staff and the letter names of the chords above the staff.1 writ 63 LESSON 61 DOMINANT SEVENTH CHORD The term dominant chord is another name for the V chord. The term tonic chord is another name for a | chord. In the key of C, the C chord is the | chord or tonic chord, and the G chord is the V chord or dominant chord. ; C G I v Tonic Dominant Up till now, we have only learned triads or 3-note chords. Now, we are going to learn a 4-note chord. The dominant 7th chord is a 4-note chord that gets its name from its place in the key (built on the Sth note = V chord = dominant chord), and from the interval from its root to its top note (a seventh), G7 A dominant 7th chord — interval of in the key of Cis Faith built on the note G v7 Dominant You can also construct a dominant 7th chord by interval. Just add another minor 3rd to a major chord. G major G dominant 7th Se aw = ge fe the following chords: G7 c7 D7 Check your intervals. Both the C7 and D7 chords have an accidental. Besides thinking of the interval, remember that C7 is built on the 5th tone of the F scale, which has a BP in its key signature; and the D7 is built on the Sth tone of the G scale which has an Ff in its key signature. 2. Write the chord progression indicated, and write the letter name of each chord above the staff.64 INVERSIONS When playing chords itis impractical and dull to play all triads and seventh chords in root position. To make chord progressions easier to play at the keyboard or on fretted instruments, and to make them sound smoother, we can rearrange the order of the notes. The rearranged chords are called INVERSIONS. If we move the 3rd bottom note to Sth the top again, If we move the $t4 bottom note to R* the top of the Root Position chord, we get the Ist inversion. _we get the 2nd inversion. The 3rd is on The Sth is on the bottom. the bottom. 1. Write the chords indicated in the root position. D bb G F c 3. Write the chords indicated in the 2nd inversion. 4. Write the chords indicated. G D Bb F C Ist inversion 2nd inversion root position _Ist inversion 2nd inversion65 LESSON 63 INVERSIONS OF THE DOMINANT SEVENTH CHORD The dominant seventh chord has one more inversion than a triad. Root Position Ist inversion 2nd inversion 3rd inversion 3rd on the bottom 5th on the bottom 7th on the bottom By using inversions, we can make the notes of different chords within a chord progression move smoothly from one to another. This is called smooth voice leading. Chord Progression Chord Progression all in root position using inversions Cx bce S Cec. i —SS—— = I a oeT. I 1 1 ert 2nd 1st inversion inversion “When played or sung by 3 instruments or vocalists, the 5th (D) would be omitted. — 1. Write the |, IV, V7, I progression in the key of F, using smooth voice leading. Indicate the chord names and the inversions used. F 1 root position 2. Write the |, IV, V7, | progression in the key of G, using smooth voice leading. Indicate the chord names and the inversions used. 3. Write the |, IV, V7, | progression in the key of Bb, using smooth voice leading. Indicate the chord names and the inversions used.66 LESSON 64 REVIEW OF LESSONS 61-63 1, Write the following dominant 7th chords. £ a G7 D7 BOT F7 AT 7 ET 2. Write the Ist inversions of the following chords. é BO ED F Ab G D 3. Write the 2nd inversions of the following chords. D G aD F Eb Bb c 4. Write the 3rd inversions of the following chords. E7 c7 Ay F7 Bb7 D7 Gr 5. Write the |, IV, V7 progression in the key of D, using smooth voice leading. Indicate the chord names and the inversions used. 6. Write the |, IV, V7 progression in the key of Eb, using smooth voice leading. Indicate the chord names and the inversions used. eS 7. Write the |, IV, V7 progression in the key of A, using smooth voice leading. Indicate the chord names and the inversions used. DE —- = = =67 LESSON 65 TRANSPOSITION Transposition is the rewriting of music from its original key to another. You may wish to transpose a song to make it easier to sing. You may also wish to transpose it for another instrument. We already know how to transpose harmony or a chord progression. All we have to do is use the Roman numeral names and move the progression toa new key. The same concept can be done with melodies. You may assign the melody the numbers of the scale (1-8) or the scale syllables (do, re, mi, etc.) and just begin on the new beginning note. You may also think of intervals between notes. Melody in C Same Melody transposed to F eS ee Se Mobos: 22-3 5 6 8 tee oe syllables: do re mi sol la_ do do te mi sol la do intervals: 2nd 2nd 3rd 2nd 3rd 2nd 2nd 3rd 2nd 3rd 1. Transpose the following melody to the key of G. c F G7 c 1 IV v7 1 2nd inversion Ist inversionLESSON 66 OTHER TRIADS MINOR ‘Any major triad can be made minor by lowering the third degree ¥ step. C Major Triad C Minor Triad = = You can also construct minor triads by interval. C Minor Triad J minor 3rd 1. Write the following major triads. Then adjust each to make them minor. 2. Write the following minor traids. Gi minor 3. Write the following chords. (Small Roman numerals are used for minor chords.) The i chord in the The i chord in the The i chord in the key of C minor. key of G minor. key of F minor. = = = ——69 LESSON 67 OTHER CHORDS AUGMENTED AND DIMINISHED ‘Any major triad can be made augmented by raising the fifth degree ¥2 step. C Major Triad C Augmented Triad C Augmented Triad You can also construct ralceard augmented triads a riaiot a by interval + = augmented C+ = C augmented Any minor triad can be made diminished by lowering the fifth degree ¥2 step. C Minor Triad C Diminished Triad C Diminished Triad cs You can = also construct = diminished triads seminor 3rd by interval. o = diminished — C® = C diminished 1. Write the following augmented triads. ce Bb+ Dt AD, Fe At Eb+ Gt 2. Write the following diminished triads. 3. Write the following triads.70 LESSON 68 REVIEW OF LESSONS 65-67 1. Transpose the following melodies to the indicated keys. transpose to + oo transpose to transpose to 3. Write the same chord progression with smooth 2, Write the following chord progression. ri voice leading. Indicate the inversions used Cmin Fmin G7 min 4. Write the following chords. ce Bbmin Dmin Abe Ft ae Ebmin Gt Bp+ D+ Abmin Cmin ee Eb° At Re Gmin Eb+ Amin Fmin Abt pe Bb ee.LESSON 69 ANOTHER CHORD PROGRESSION Another chord progression that is very popular in all styles of music combines major and minor chords. The progression is | vi ii V7 I. In the key of C, this progression would be: Amin Dmin Gr C =a a Se z vi ii v7 1 1. Write the following chords. Gmin Dmin Emin Amin Cmin Bmin 2. Write the | vi ii V7 I progression in the key of F, 3. Write the I vi ii V7 | progression in the key of G. 4, Write the | vi ii V7 | progression in the key of C.72 LESSON 70 MORE ON INVERSIONS The movement from one chord to the next in the | vi ii V7 I progression can be made to sound smoother by using inversions. c Amin Dmin G7 c te SS S158 vi Ist inversion ersion When Roman numerals are used, the first inversion is indicated with the number 6, the second inversion with the numbers 6. (Ex: | chord in 1st and 2nd inversions—I,, |.) § When chord symbols are used, the first inversion is indicated with the letter name of the chord first, followed by a diagonal line and the letter name of the bass note. (Ex: G chord in Ist inversion—G/B) The first inversion of the dominant seventh chord is indicated as a Vo. 3 oe 1. Write the |, vi, ii, V7, | progression in the key of F, using smooth voice leading. Indicate the chord names and the inversions used. a= —— é 9 = 2. Write the I, vi, ii, V7, | progression in the key of G, using smooth voice leading, Indicate the chord names and the inversions used. 3. Write the I, vi, ii, V7, | progression in the key of BD, using smooth voice leading. Indicate the chord names and the inversions used. 4, Write the |, vi, ii, V7, | progression in the key of D, using smooth voice leading. Indicate the chord names and the inversions used.73 LESSON 71 MORE TRANSPOSITION By using the Roman numerals, we can transpose the two progressions we know to any key. By using numbers, syllables, or intervals, we can transpose any melody to any other key. If something new occurs, like a sharp or flat within the melody, or an augmented or diminished chord within the harmony, they would be treated the same way. Melody in C Melody transposed to the key of F In the melody in C, the Fin In the key of F, the BD would bar 3 is raised ¥4 step to FE. have to be raised ¥ step to Bh. In the example below, look at each chord and think the Roman numerals. Then think the letter names. Harmony in C Harmony transposed to the key of F. c CR SRE G7 Le F Fie Bbe cP -F.74 LESSON 72 REVIEW OF LESSONS 69-71 1. Write the | vi ii V7 | progression in the key of Eb, using smooth voice leading. Indicate the chord names and the inversions used 2. Write the | viii V7 I progression in the key of C, using smooth voice leading. Indicate the chord names and the inversions used. 3. Transpose the following melody to the key of A, 4, Transpose the following melody and harmony to the key of F. 1 vig ii V6 175 LESSON 73 RELATIVE MINOR KEY SIGNATURES NATURAL MINOR All major keys have a relative minor key which uses the same key signature. The key tone ) of the minor key is a minor third, or 3 half steps, below the key tone of its relative major. i C Major down a minor 3rd. A Minor A minor and C major both i from Cis A have the same key signature. j The natural minor scale uses the key signature of the relative major scale. 2 A natural minor 1. Write the name, key signature, and key tone of the relative minor of the following major keys. : Major Key Minor Key Key Tone ‘ F aD ; C ees } G , 2. Write the A natural minor scale. Write the D natural minor scale. 4. Write the E natural minor scale.76 LESSON 74 HARMONIC MINOR The harmonic minor is the most commonly used minor scale in Western music. It is based ‘on the natural minor, but the 7th scale degree is raised 2 step. A Natural Minor ‘A Harmonic Minor ee ey oe pe eee Write the following harmonic minor scales. First write the relative major key signature Then write the natural minor scale. Then raise the 7th scale degree % step. 1, D Harmonic Minor 2. E Harmonic Minor 3. G Harmonic Minor 4. C Harmonic Minor77 LESSON 75 MELODIC MINOR The melodic minor scale is different ascending and descending. Ascending, the 6th and 7th degrees of the natural minor scale are raised ¥2 step; descending, the natural form of the minor is used (both accidentals are cancelled). ‘A Melodic Minor toto © ho 4 ——== 2 = — oo = = oa SY 3A 5 Oe eee eee ee oa Write the ascending and descending form of the following melodic minor scales. First write the relative major key signature. Then write the natural minor scale ascending and descending. Then raise the 6th and 7th scale degrees ascending and return them to their original form descending. 1. D Melodic Minor o = 2. G Melodic Minor = = = = = = oO 3. C Melodic Minor 4. E Melodic Minor78 LESSON 76 REVIEW OF LESSONS 73-75 1. The key tone of a relative minor scale is a minor below the key tone of its relative major scale. 2. The _____minor scale uses the key signature of the relative major scale without any accidentals. 3. The harmonic minor scale raises the ___scale degree of a natural minor scale ________ step. 4. The _____ minor is different ascending and descending. 5, The ascending version of the melodic minor scale raises the and scale degrees step. 6. The descending version of the __________ minor scale is the same as the minor. Write the following scales: 7. AMelodic Minor (Ascending and Descending) 8. C Natural Minor 9. F# Harmonic Minor + 10. B Melodic Minor (Ascending and Descending)79 LESSON 77 HARMONIZING A MELODY Itis relatively easy to harmonize a melody. Since you know the notes in the chords, you can analyze the melody to see if the notes outline a chord you know. Usually chords change in each measure. CoB Ga he ee Dork Gk BC In measure 1 the notes C, E, G are all found in the C chord. In measure 2 the notes A & F are all found in the F chord. In measure 3 the notes D, F, G are all found in the G? chord. In measure 4 the notes E & C are all found in the C chord: The chord progression of the melody is C F G7 C or | IV V7 I. 1. Harmonize the following melody. First analyze the notes in each measure. After you have decided the name of the chord, write it above the top staff, and write the notes of the chord on the bottom staff. Then write the Roman numeral to show the chord’s function within the key. The first measure is done for you. F 3. On the staff below, rewrite the harmony with smooth voice leading and name the inversions of the chords used.LESSON 78 PASSING TONES AND NEIGHBORING TONES Melodies often contain notes that are not contained in the chord. Sometimes, these notes pass from one chord tone to another and are called passing tones. c G7 c t t 1 passing Y7 passing r Tone Tone Sometimes notes are above or below a chord tone. They immediately return to the chord tone and are called upper neighbors and lower neighbors, or simply neighboring tones or auxiliary tones. iG G7 c I t vw } I Upper Lower Neighbor Neighbor . Circle the upper neighbors and passing tones, F BD F 7 F . Circle the lower neighbors and passing tones. G I Vv v 1 aE 1 . Harmonize the following melody, circling any passing tones and neighboring tones. Indicate the chord names above the top staff and write the notes of the chord, with smooth voice leading, on the bottom staff. Write the Roman numerals to show the chord’s function within the key and indicate the inversions used.81 LESSON 79 COMPOSING A MELODY In the past lessons, we have added harmony to an existing melody. It is also possible to compose a melody over an existing harmony. The process is the same: first think of the notes in the chord, then add passing tones and/or neighboring tones to make the melody more interesting. c F G7 C 2. Compose a melody over the existing harmony. 3. On the staff below, rewrite the harmony with smooth voice leading and name the inversions of the chords used82 LESSON 80 REVIEW OF LESSONS 77-79 1. Notes that pass from one chord to another are called _______________ tones. 2. Notes that are above and immediately return to a chord tone are called upper 3. Notes that are below and immediately return to a chord tone are called lower 4. Circle the passing tones in the following melody. b Bmin Emin AT D AT D 5. Circle the neighboring tones in the following melody. ED AD Bb7 Eb Bb7 ED 6. Harmonize the following melody, circling any passing tones and neighboring tones. Indicate the chord names above the top staff and write the notes of the chord, with smooth voice leading, on the bottom staff. Write the Roman numerals to show the chord’s function within the key and indicate the inversions used.83 LESSON 81 CHORD PROGRESSIONS IN MINOR KEYS The i iv v v7 chord progression in a minor key is derived from the scale the same as it is ina major key. Amin Dmin__Emin7 Amin > = i iv 7 i The above is based on the natural minor scale. The most popular minor scale is the har- monic minor because the raised 7th makes the last two notes of the scale sound more final (ti, do). If we changed the above scale to harmonic minor, the G would become G# and the v7 chord would become E7 (V7). This major five chord also gives the key a better sense of finality and is the one you will usually use. Amin Dmin 7 Amin V7 i chord progression in the key of A minor. — = 5 2. Write the i iv V7 i chord progression in the key of D minor, 3. Write the i iv V7 i chord progression in the key of E minor, using smooth voice leading. Indicate the inversions used. 4, Write the i iv V7 i chord progression in the key of G minor, using smooth voice leading. Indicate the inversions used.84 1 LESSON 82 HARMONIZING A MELODY IN MINOR To harmonize a melody in a minor key, use the same procedure as you did for a major key. Analyze the melody to see if it outlines a chord you know. Look for passing tones and neighboring tones which are not members of the chord and are sometimes called nonchord tones. AS REC SE DEG Bie ay ct A passing upper passing tone neighbor tone In measure 1 the notes A, C, E are all found in the A minor chord, the B is a passing tone. In measure 2, the notes D & F are all found in the D minor chord, the G is an upper neighbor. In measure 3 the notes E & G# are all found in the E7 chord, the F is a passing tone. In measure 4 the note A is found in the A minor chord. The chord progression of the melody is A minor, D minor, £7, A minor; or iiv V7 i in A minor. . Harmonize the following melody. First analyze the notes in each measure, circling all nonchord tones. After you have discovered the name of the chord, write it above the top staff and write the notes of the chord on the bottom staff. Then write the Roman numeral to show the chord’s function within the key. Harmonize the following melody in the same manner as you did above, but write the harmony with smooth voice leading. Name the inversions used.85 LESSON 83 COMPOSING A MELODY IN MINOR In the past lessons, we have added harmony to an existing melody. It is also possible to compose a melody over an existing harmony. The process is the same: first think of the notes in the chord, then add passing tones and/or neighboring tones to make the melody more interesting. Amin Dmin iy, Amin 1. Compose a melody over the existing harmony. i ive V6 i 2. Compose a melody over the existing harmony. 3. On the staff below, rewrite the harmony in smooth voice leading and name the inversions of the chords.86 LESSON 84 REVIEW OF LESSONS 81-83 COMPOSING A COMPLETE SONG You now have the knowledge to compose many songs in many keys. You can begin by writing a melody and harmonizing it, or by writing a harmonic progression and adding a melody over it. The only thing we still need is a lyric or the words to the song. Some com- posers write the lyric first and others write the music first. You should try both ways until you see what is the best for you. A fun way to begin is to take a poem you like and set that to music before you try to create your own lyric The following is a suggested plan for you to use: . Pick a lyric you like (either an existing poem or a lyric you created). "Say it aloud many times until you feel its rhythmic flow. ; Decide on the time signature that fits the lyric’s flow. Underline the strong beats of the lyric—these words should fall on the strong beats of the measure. 5. Sketch the rhythm of the melody. Bune At this point, you have to decide whether you want to write the melody first, or the harmony first Melody First 6. Pick a key and decide whether your song will be in major or minor, 7. Create your melody, remembering the feeling of the lyric and the mood you are trying to depict 8. Analyze the melody to see what harmony will sound the best. 9. Write the harmony in smooth voice leading. 10. Go back and adjust the melody, chords, and lyric unti 11. Add a title to your song; sing it and play it. s just the way you want it. Harmony First Pick a key and decide whether your song will be in major or minor. Create your harmonic progression with smooth voice leading. Create your melody based on the harmonic progression, remembering the feeling of the lyric and the mood you are trying to depict. Go back and adjust the melody, chords, and lyric until it is just the way you want it. Add a title to your song; sing it and play it Se exe 187888990a1 USING THE COMPUTER DISKETTE IBM Floppy Disk: After installing DOS on your system, insert the ALFRED disk, type ALFRED and press ENTER. Hard Drive: Copy each Alired program disk to its own subdirectory on hard drive. At prompt, type ALFRED and press ENTER. MACINTOSH Insert the ALFRED disk. Double click on the ALFRED icon to run the pro- gram. To copy to the hard disk drive: Make a new folder on the hard drive. 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Fin ae n_de_nt ch tin, Ag it —L— et 2 2m, ce 3a ech anes Ait een ret SAdtpced ate acmat Za te vuelta 4 oe Sa tee stoner ety yee pee areLESSON 20 REVIEW OF LESSONS 17-19 aaa a4 See aa 93 LESSON 24 REVIEW OF LESSONS 21-23 |S Oweeilegoe sesh nL —goote m y_f__sehot. Nl PE tcans o LESSON 28 REVIEW OF LESSONS 25-27 : LESSON 32 REVIEW OF LESSONS 29-31, Lemire nvarhnte. ce balfsers MeL a Mie ae eteLESSON 36 REVIEW OF LESSONS 33-35. SS ro == = Ro rif ® i. See ey pene eee LESSON 40 REVIEW OF LESSONS 37-39 Hag ia tn Set he gt at a, Steers i ee ee 'SSON 44 REVIEW OF LESSONS 41-43 Be ee LESSON 48, REVIEW OF LESSONS 45-47 Oy gyLESSON 52 REVIEW OF LESSONS 49-51 (es damadi ne = SS 95 LESSON 56 REVIEW OF LESSONS 53-55 1 Whenacnmanucd one bt le aymcmind I, dad ddd fa sug. i MA gy Spat aes mente et = LESSON 60 REVIEW OF LESSONS 57-59 1 Aowetsscontneenct 3 rm wr unde sate LESSON 64 REVIEW OF LESSONS 61-63 1 ete ewe doneen cr. Me Co ee a egw $e ee eee & ae SS fobs ssisicts ee . eS ee a96 LESSON 68 REVIEW OF LESSONS 65-67 LESSON 72 REVIEW OF LESSONS 69-71 gee — ssn -—- eas 2 ge earn ee A eh ee eg mee me BESS : . ee Se LESSON 76 REVIEW OF LESSONS 73-75 Deseret bone ent 4 Te lends ier te seg cen. 1 mg vii nee gic Ee Dacre aaa tare Ae + nese peter ee ite Daath ert. 9. treme ire ee eee LESSON 80 REVIEW OF LESSONS 7-79 2 Raves seein nd inne ian cule weceones aalganes — Bigata gia Bt$10.95 A998 a2 ~*~ . : NANA ALFRED PUBLISHING CO., INC. 0882842260 sin eda Renan tk ISBN 0-88284-225-0